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Writing Other Things

Episode - 318

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September 19, 2017 Books, Broadway, How-To, International, Scriptnotes, Television, Transcribed, Writing Process

John and Craig welcome back Aline Brosh McKenna to talk about writing projects outside the familiar constraints of screenwriting.

We discuss the surprises and adjustments involved in the creative processes of different media: Aline’s graphic novel Jane, Craig’s HBO miniseries Chernobyl, and John’s original song, “Rise.” We also dig into why screenwriters sometimes need to be amateurs again.

Then we answer listener questions about making fair deals as someone in a different country, and how best to read one’s script before rewriting.

Links:

  • Submit to the Three Page Challenge and check the box if you’ll be in Austin for the Austin Film Festival
  • The new season of Crazy Ex Girlfriend premieres Friday October 13th
  • John Gatins’ IMDb
  • Order Aline Brosh McKenna’s new graphic novel, Jane
  • Ramón K. Pérez’s website, twitter and graphic novel, Jim Henson’s Tale of Sand
  • “Rise” composer Sam Davis’ website
  • The Original Melody, John’s Snap Track, and the demo track with vocalist Curt Hansen for “Rise”
  • Or you can check out this post for more details about “Rise”
  • Mark Halpin Puzzles
  • Insecure on HBO
  • Out on the Wire by Jessica Abel
  • The Scriptnotes Listeners’ Guide!
  • The USB drives!
  • John August on Twitter
  • Craig Mazin on Twitter
  • Aline Brosh McKenna on Twitter
  • John on Instagram
  • Find past episodes
  • Outro by John August (lyrics) and Sam Davis (music) (send us yours!)

Email us at ask@johnaugust.com

Credits: Produced by Megan McDonnell Edited by Matthew Chilelli With Nima Yousefi and Dustin Bocks

You can download the episode here.

UPDATE 9-26-17: The transcript of this episode can be found here

Advice for Lost Time Travelers

April 27, 2017 How-To

A few years ago, I worked on a Big Studio Movie that involved time travel. This particular project never made it off the launch pad, but it started me thinking about an admittedly minor issue with the genre:

How do time travelers know where and when they are?

For travelers with functional time machines, there is presumably some device onboard to calculate geographic and temporal location. Easy enough.

But what if the time machine breaks in transit? Or what if, like Kyle Reese in The Terminator, the voyager arrives in the past with no gear whatsoever?

Here’s the basic question that keeps me up some nights:

If I were deposited somewhere on Earth, somewhere in time, how could I figure out where and when I was?

Ask someone

Assuming there is a human civilization nearby, this seems like the obvious choice.

Odds are I wouldn’t speak their language, but I suspect that observing them would give me a general indication about where I was (Europe versus Asia versus Central America) and when (Paleolithic versus Iron Age). I’d want to be careful making assumptions based on ethnicity, since humans have moved around the globe a lot.

On the off chance I wasn’t immediately killed as an outsider, I’d eventually learn their language well enough to ask more detailed questions that could narrow things down further:

  • Which way is the ocean?
  • What other cultures have you encountered?
  • What’s the most impressive landmark, natural or otherwise, you can take me to?

Available clues

If there were no one else around, I’d have a much harder time even getting started figuring things out. But I wonder how much of that is my own ignorance.

Certainly, a competent biologist would be able to study the nearby plants and animals to get a sense of which ecosystem — and possibly what time period — she found herself in.

Ditto for a paleontologist.

An experienced geographer or geologist would likely look for things I’d never considered, such as minerals in the soil or weather patterns.

A great astronomer might be able to use stars to figure stuff out. (My hunch is that celestial observation could help you determine where or when, but not both.)

An archeologist could likely glean useful information from abandoned settlements, even if the humans themselves weren’t around.

In general, these are situations where scientists have a considerable leg up on screenwriters, both because of the knowledge in their heads and their ability to apply the scientific method.

Phone a friend

Let’s say that through movie magic, I have a radio that lets me communicate with a trusted confidant in 2017. We’ll call her Trish.

Like a lost tourist, I might rely on Trish to Google things for me, or consult modern experts. Let’s assume she’s very resourceful and persuasive.

  • What would I ask her to do?
  • Who would I want her to call?
  • What might Trish tell me to do on my side to help determine where and when I was?

What’s interesting about Trish is that we all have one: the internet. It’s easy to forget that even ten or twenty years ago, it was much harder to find answers to many of our questions. We think of the internet as being a source of facts and opinions, but one of its most important functions is troubleshooting.

So that’s why I’m writing this blog post: to help solve my imaginary predicament. I’m genuinely curious how people smarter than me would solve this issue. What advice would you give to lost time travelers?

If you have ideas, you can find me on Twitter @johnaugust, or send longer suggestions to ask@johnaugust.com. I’ll share the most interesting and/or helpful ideas submitted.

Twelve Days of Scriptnotes

November 15, 2016 Film Industry, How-To, Scriptnotes, Television, Transcribed, Writing Process

In this very special episode from 2014, Craig and John welcome special guests Aline Brosh McKenna, Rachel Bloom, B.J. Novak, Jane Espenson and Derek Haas to talk about writing books, movies and especially television.

Aline and Rachel just finished shooting a pilot called Crazy Ex-Girlfriend. We discuss the genesis of the project, and how sexism is just stupid.

B.J. tells us about the joy of reading Inglorious Basterds, and how the key to success is apparently editing your high school newspaper.

Jane and Derek teach us what really goes on in the writers room, from secret lingo to codes of silence.

Plus there are songs!

Recorded with a live audience at LA Film School as a benefit for the Writers Guild Foundation. Huge thanks to everyone who came and supported the show.

Links:

  • The Writers Guild Foundation
  • Aline Brosh McKenna on episodes 60, 76, 100, 101, 119, 123, 124 152, and 161
  • For Universal Pictures, Zero Blockbusters Equals Record Profits on Forbes
  • Showtime Nabs Comedy With Musical Elements From Aline Brosh McKenna on Deadline
  • Rachel Bloom and on IMDb and YouTube
  • B.J. Novak and on IMDb
  • The Book With No Pictures and One More Thing, both by B.J. Novak
  • Jane Espenson and on IMDb
  • Derek Haas and on IMDb and episode 83
  • Aaron Sorkin sad that Newsroom writer’s objection to rape plot violated his privacy on A.V. Club
  • Intro by Scriptnotes editor Matthew Chilelli (send us yours!)

You can download the episode here:

UPDATE 12-01-16: The transcript of this episode can be found here.

Flaws are features

July 5, 2016 Follow Up, How-To, Scriptnotes, So-Called Experts, Story and Plot, Transcribed, WGA

Craig and John look at unforgettable villains, screenwriter billions, and a parallel world with two Nathan Fillions. (The last part is not true.)

We also dig into more about magical dad transformation comedies and why there isn’t a female equivalent.

Links:

  • Sundance Feature Film Programs
  • The James Patterson MasterClass
  • Nine Lives trailer on YouTube
  • Scriptnotes, 75: Villains
  • 7 Tips for Creating Unforgettable Villains
  • The Blackbird, from The Mill
  • Newser on Tanzania’s game changing giant helium field
  • Outro by Matthew Chilelli (send us yours!)

You can download the episode here.

UPDATE 7-8-16: The transcript of this episode can be found here.

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